A Quote by Howard Hodgkin
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
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I get very surprised and shocked because there is so much prejudice against me as a celebrity, instead of them looking at the quality of my work. Just look at the work. Forget about who I am. But there is so much perception in the art business that blurs that insight. The work speaks, so just look and then judge from there.
I tend not to look too much back; I tend to look forward. So, I suppose, I know, I've had probably most of my life, and there's less going forwards than there is going back, but I prefer to look in the future.
I'm very much involved with Asian art and its theory and practice, mainly Chinese because that was quite sophisticated. I tend to look at that more than I look the Western.
I wanted to actually make people look at a painting. We don't look at paintings that much. We glance at them.
Whoo-hoo-hoo, look who knows so much. It just so happens that your friend here is only MOSTLY dead. There's a big difference between mostly dead and all dead. Mostly dead is slightly alive. With all dead, well, with all dead there's usually only one thing you can do. Go through his clothes and look for loose change.
In the hierarchy of instruments, if you're a harpist, you're considered someone with a brain much more than if you're a singer. Even though singers, particularly singers who can play piano... If you go to the office of career development, you can get a gig much easier. Still, musicians tend to look down on you. I think they've got some nerve, because if they could sing, they would do it, but most of them can't.
I'm much more concerned about what artists think. But as you get older you tend to get much more isolated; you're not out in the bar, having long drunken arguments on the benefits of your work vs. someone else's. It's hard to know how people are looking at it, and you don't get much feedback. The written critical stuff seems to be the feedback, but that's hard to interpret.
The costumes in museums are often not exhibited well. They look dead. It is much better to look at a painting by Bronzino than to go look at a Renaissance costume.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
I'm more into the perception scope of a work; I'm exploring this concept of perception and how people can look at someone, look at the community, and put in so much judgment, so much stereotype, so much misconception.
Success for me means being able to work. I don't look at so much at what I've done as much as I look to what I will do.
I've always been the underdog, and I've always had to work much harder than the next person just to get a look. But I feel like that's Black people as a whole, to be honest with you. We have to do so much more and work so much harder to get certain kinds of looks within this industry.
People used to give me pictures or paintings of me - they never look even close to what I look like.
Maybe the way we have learned to look has changed in the last 25 years, and the exotic is much more acceptable. There are many artists now, younger artists, who work out of the exotic.
Maybe the way we have learned to look has changed in the last 25 years, and the exotic is much more acceptable. There are many artists now, younger artists, who work out of the exotic
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